Welcome to the third chapter of 𝑺𝑻𝑰𝑳𝑳 - 𝑺𝒕𝒖𝒅𝒊𝒆𝒔 𝒐𝒏 𝑴𝒐𝒗𝒊𝒏𝒈 𝑰𝒎𝒂𝒈𝒆𝒔, which takes shape as a captivating collection of texts stemming from moving-image works and reflecting on the ethical and political relationship between aesthetic production and its material conditions. The 3rd chapter commences with a passionate conversation between artist #YuriAncarani and #LuciaAspesi, assistant curator at @pirelli_hangarbicocca. “Sculpting through Film” charts the artist’s approach to the different social, spatial, and sound dimensions that characterize cinemas and museums, and notices the turning point in his research made by his latest film Atlantide. It continues with “Afterimages of Progress,” a compelling essay by #NoraKhan, writer, editor, and curator, about artist #DiegoMarcon’s film Monelle, which we proudly produced in 2017. Here, Khan reads Monelle in light of the opaque enmeshment between “rationalist-turned-fascist” aesthetics and the afterimages elicited by such violent politics. Working with artists to produce moving-image works, texts, exhibitions, and events, #MasonLeaverYap shares their experience and problematizes neoliberal practices of production while offering counter-tactics of care in their piece “Distributing Dependency: Reconditioning Institutional Production for Artists.” Finally, #KarenIrvine, chief curator and deputy director at @mocpchi analyzes our recent film acquisition Moon and Half Dome (Greetings to Muir and Adams) (2020) by artist #CyrillLachauer. In “Surveying Grandeur,” Irvine scrutinizes how the artist probes the political and environmental implications of the US American West’s mythology through the legacies of two of its icons, conservationist John Muir and photographer Ansel Adams. Read more via the link in bio #FondazioneInBetweenArtFilm #BeatriceBulgari #STILL #AlessandroRabottini #BiancaStoppani #LeonardoBigazzi #PaolaUgolini #MousseAgency

We are pleased to announce that, on November 14 at 9 pm CET, "Land of Dreams" (2021) by #ShirinNeshat and #ShojaAzari will be screened at @cinemalacompagnia on the occasion of the 14th LO SCHERMO DELL’ARTE - CINEMA AND CONTEMPORARY ART FESTIVAL's Closing Night. The screening will be preceded by a conversation between Shirin Neshat and #HeinzPeterSchwerfel, Critic, Filmmaker, and Director at @kinoderkunst, at 3 pm CET, with free entrance. More info via @schermodellarte Firstly premiered at the 78th @labiennale Film Festival in Venice, the story of "Land of Dreams" takes place in the near future in a small town in America. Simin is an Iranian immigrant who works for the United States Census Bureau which has begun a program to record citizens’ dreams. Unaware of the US government’s devious plot, Simin’s personal obsession is to try to capture her interviewees’ dreams by photographing and later secretly impersonating them in Farsi, then publishing them on social media. Playful and poignant, "Land of Dreams" acknowledges in a surreal and satirical way, the greatness of the US experiment while offering a warning beacon for what could come. Starring #MattDillon, #IsabellaRossellini, #WilliamMoseley, #SheilaVand, #AnnaGunn, and #ChristopherMcDonald. "Land of Dreams" was produced by Bon Voyage Films GmbH, Palodeon Pictures LLC & Land of Dreams LLC production, and co-produced by #FondazioneInBetweenArtFilm Photo credit: ©Ghasem Ebrahimian, Bon Voyage Films and Palodeon Pictures

In @ra_dimartino’s film "Controfigura" (2016), a small film crew is wandering in Marrakesh and the surrounding desert. They are looking for locations for the remake of a US film in which a man decides to reach his home by crossing the city swimming from pool to pool as if it were a continuous and uninterrupted flow of water. For the crew, it is an opportunity to meet expats and local people, interlocutors with whom to talk about why it was decided to make this film today and why it is interesting to do so in Marrakech, a desert city that hosts hundreds of swimming pools and is becoming a new golf capital. A playground for the international jet-set that, beyond the walls of their villas, builds ideal worlds, totally impermeable to their surroundings, and in stark contrast to the local reality. Corrado, a ‘stand-in’, tries the shots to find the path through the pools that the main character will swim through. At the same time, it’s as if the need to become more than just a stand-in takes over him. Corrado feels all the dignity of an actor and wants to demonstrate he could be as good as any other professional actor. And so, while we observe his struggles, we start seeing the real actors and crew working on set between doubts and shouts. A film looking for where the real film is. Credit: #RaDiMartino, Controfigura, 2016. Italy, France, Switzerland, Morocco, 75’. Produced by @marcoalesssi & Ra di Martino for @dugong_films, #BeatriceBulgari for In Between Art Film, @snaporazverein & Produzioni @lailluminati.it Courtesy the artist and #FondazioneInBetweenArtFilm

As part of @lacasaencendida's #SheMakesNoise 2021 festival, Eva Giolo's "Flowers blooming in our throats" (2020) will premiere in Madrid on Saturday, 23 October. Follow the link in our bio to book your ticket! Previously, “Flowers blooming in our throats” was selected for many festivals, including the 43rd @cinemadureel, @puntodevistafestival 2021, and the @iffr Ammodo Tiger Short Competition 2021, which nominated the film to the next @eurofilmawards. Conceived for #MASCARILLA19 - Codes of Domestic Violence, Giolo's film is an intimate, poetic portrait of the fragile balances that govern everyday life in a domestic setting. The artist films a group of her female friends in their own homes, performing various small actions in accordance with her instructions. Giolo chooses to walk a shifting line where gestures remain symbolically ambiguous, expressing a kind of violence that is not immediately recognizable. Hands try to support or escape, but also to grip or strike, in a subtle interweaving of sounds and references that adds to the viewer’s sense of tension and unease. A dialogue of gestures, made up of repeated visual sequences where time is marked by the spinning of a small toy top, as unstable and precarious as the balance of a relationship. The artist repeatedly uses a red filter on her lens, creating a conceptual device that relies on an element of abstraction to conceal and transfigure the image. The mechanical insertion of the filter over the lens thus becomes the simulation of a violent act, immediately changing the way we perceive and remember an action we have seen before. This coexistence of opposites can also be found in the title, which metaphorically suggests how the beauty of a natural phenomenon—and implicitly, love—can turn into a suffocating force. Credit: Still from #EvaGiolo, Flowers blooming in our throats, 2020. Courtesy of the artist, #FondazioneInBetweenArtFilm and @elephy_production #BeatriceBulgari #INBAF

"I have actually been working on the subject [of dreams] for many years. I started by writing down my dreams, and then I recreated and filmed them. There is something strong and poetic in the relationship between dreams and photography: dreams vanish if you don't write them straight away, while photography 'freezes' a moment forever. So I came up with the idea of a photographer who collects people's dreams and uses them in the performances that she posts on social media. From my dreams, I switched my interest to those of the US people". Thank you to @iodonna_it and #MariaLauraGiovagnini for this beautiful interview with #ShirinNeshat on her research and on her latest film "Land of Dreams," which was selected for the 78th Venice International Film Festival, organized by @labiennale di Venezia and directed by #AlbertoBarbera. Read "Shirin Neshat: «La mia arte e la forza delle donne»" via the link in bio #BeatriceBulgari #ShirinNeshat #BiennaleCinema2021 #Venezia78

"Followers of Hetain Patel’s work will recognize the seeds from which 'Don’t Look at the Finger' has blossomed. Eccentric wedding ceremonies, for example, sprinkle his oeuvre. In 'The Jump' (2015), a double-sided video projection, one screen presents us with his extended family arranged in his grandmother’s living room, dressed as if for a wedding and staring at the artist as he leaps from the arm of his grandmother’s sofa in a homemade Spider-Man costume in super-slow motion. The other screen gives us the Hollywood epic version of that same leap against a dark, smoke-filled background—adding a dark yang to the family wedding scene’s quasi-comedic yin. In an earlier work, 'The First Dance' (2012), the recently married Patel restages a scene from 'Crouching Tiger, Hidden Dragon,' with his wedding sherwani standing in for kung fu robes opposite his wife—the dance and performance curator and dramaturge Eva Martinez—who is wearing the same Indian wedding dress that the eagle-eyed may recognize from 'The Jump.'" — Hammad Nasar. Continue reading "TRANSFORMING WORLDS. On Hetain Patel’s Don’t Look at the Finger (2017)" by senior research fellow at @paulmelloncentr for Studies in British Art and co-curator at British Art Show 9 #HammadNasar from 𝑺𝑻𝑰𝑳𝑳 - 𝑺𝒕𝒖𝒅𝒊𝒆𝒔 𝒐𝒏 𝑴𝒐𝒗𝒊𝒏𝒈 𝑰𝒎𝒂𝒈𝒆𝒔: 𝑪𝒉𝒂𝒑𝒕𝒆𝒓 2 via the link in bio. In his essay, Nasar analyzes Hetain Patel’s film "Don’t Look at the Finger" (2017) while retracing the cultural tropes which, through the years, have informed the artist’s visual language in proposing approaches to living with difference, from the figure of Spider-Man to the poetics of Bruce Nauman. Image credit: #HetainPatel, The Jump, 2015. Two-channel HD video, stereo sound. Courtesy of the artist, and @chatterjeeandlal #FondazioneInBetweenArtFilm #BeatriceBulgari #STILL #AlessandroRabottini #BiancaStoppani #LeonardoBigazzi #PaolaUgolini

"Hetain Patel’s 'Don’t Look at the Finger' (2017) follows a stylized bout of prenuptial combat between a man and a woman. The film is shot inside a London church, but the cinematic wedding ceremony it depicts has little in common with the Christian tradition. What we see is extravagantly cosmopolitan. The film appears to have been costumed in West Africa, choreographed in Hong Kong and scored somewhere in between. The significance of these three elements—costume, choreography and music—makes them full-fledged characters within the construction of the film, rather than merely supporting features. It is the triangulation between them that furnishes those not versed in British Sign Language with a narrative arc. No words are spoken throughout the film—all communication is physical and nonverbal. Even the wedding vows are signed" — Hammad Nasar. Continue reading "TRANSFORMING WORLDS. On Hetain Patel’s Don’t Look at the Finger (2017)" by senior research fellow at @paulmelloncentr for Studies in British Art and co-curator at British Art Show 9 #HammadNasar from 𝑺𝑻𝑰𝑳𝑳 - 𝑺𝒕𝒖𝒅𝒊𝒆𝒔 𝒐𝒏 𝑴𝒐𝒗𝒊𝒏𝒈 𝑰𝒎𝒂𝒈𝒆𝒔: 𝑪𝒉𝒂𝒑𝒕𝒆𝒓 2 via the link in bio. In his essay, Nasar analyzes Hetain Patel’s film "Don’t Look at the Finger" (2017) while retracing the cultural tropes which, through the years, have informed the artist’s visual language in proposing approaches to living with difference, from the figure of Spider-Man to the poetics of Bruce Nauman. Image credit: #HetainPatel, Don’t Look at the Finger, 2017. Single Channel HD video, stereo sound. Courtesy of the artist, and @chatterjeeandlal. Fondazione In Between Art Film Collection #FondazioneInBetweenArtFilm #BeatriceBulgari #STILL #AlessandroRabottini #BiancaStoppani #LeonardoBigazzi #PaolaUgolini

Continue reading the essay "TRANSFORMING WORLDS. On Hetain Patel’s Don’t Look at the Finger (2017)" by senior research fellow at @paulmelloncentr for Studies in British Art and co-curator at British Art Show 9 #HammadNasar from 𝑺𝑻𝑰𝑳𝑳 - 𝑺𝒕𝒖𝒅𝒊𝒆𝒔 𝒐𝒏 𝑴𝒐𝒗𝒊𝒏𝒈 𝑰𝒎𝒂𝒈𝒆𝒔: 𝑪𝒉𝒂𝒑𝒕𝒆𝒓 2 via the link in bio. Nasar analyzes Hetain Patel’s film "Don’t Look at the Finger" (2017) while retracing the cultural tropes which, through the years, have informed the artist’s visual language in proposing approaches to living with difference, from the figure of Spider-Man to the poetics of Bruce Nauman. Image credit: #HetainPatel, Don’t Look at the Finger, 2017. Single Channel HD video, stereo sound. Courtesy of the artist, and @chatterjeeandlal. Fondazione In Between Art Film Collection #FondazioneInBetweenArtFilm #BeatriceBulgari #STILL #AlessandroRabottini #BiancaStoppani #LeonardoBigazzi #PaolaUgolini

"Marinella Pirelli’s double self-portrait is a moving act of self-revelation. In a manner not too dissimilar to Giosetta Fioroni’s 'Solitudine Femminile,' we are confronted here with the complexity of female subjecthood in its rawest form. Portrayed with closed eyes at first, Pirelli goes on to reveal herself to us. She stares straight into the camera and invites us to engage with her from the other side of the screen. A stark shift follows and we lose sight of Pirelli’s face. Close-ups of the artist’s body haphazardly besiege the camera. The artist is still present, but we only catch glimpses of her hair, neck and scalp. At the end of the film, we are reunited with Pirelli’s face, which acquires a different quality in light of the more unconventional portrayal we just observed. Melancholy clouds Pirelli’s final expression, as she bids farewell to us and to the camera. This was, in fact, the artist’s last film. Having recently lost her husband, the artist turned to the camera as a site of both mourning and self-discovery. 'QUANDO MI VIDI NON C’ERO' (when you saw me I was not there), the words of conceptual artist Vincenzo Agnetti—to whom Pirelli dedicates the self-portrait—voice the experience of finding oneself in the long shadow of loss." — Flavia Frigeri Continue reading "BEING WOMEN: SEEING FEMINISM" by art historian and @chanelofficial Curator for the Collection at the @nationalportraitgallery #FlaviaFrigeri from 𝑺𝑻𝑰𝑳𝑳 - 𝑺𝒕𝒖𝒅𝒊𝒆𝒔 𝒐𝒏 𝑴𝒐𝒗𝒊𝒏𝒈 𝑰𝒎𝒂𝒈𝒆𝒔: 𝑪𝒉𝒂𝒑𝒕𝒆𝒓 2 via the link in bio. In her essay, Frigeri charts the ways in which filmmakers and artists #CeciliaMangini, #GiosettaFioroni, #MarinellaPirelli, #LauraGrisi, #KettyLaRocca, and #NicoleGravier subversively used lens-based media to disrupt patriarchal representations of womanhood within the feminist debate during the 1960s and 1970s. Image credit: Marinella Pirelli, Doppio autoritratto [Double self-portrait], 1973-74. Film still. Film, 16mm, digital transfer, color, sound, 13:00 mins. © The Estate of the Artist. Courtesy of @richardsaltoungallery, London #FondazioneInBetweenArtFilm #BeatriceBulgari #STILL #AlessandroRabottini #BiancaStoppani #LeonardoBigazzi #PaolaUgolin

"Rooted in contemporary image culture, Giosetta Fioroni's visual lexicon was specifically concerned with women and their representation in newspapers and magazines. Young and beautiful girls appeared like 'fade-outs' on Fioroni’s canvases, lending to painting a photographic connotation; a feature enhanced by the color silver, intended to create a distancing effect and recall a memory of something both past and present. Womanhood was, in fact, questioned through stereotypical attributes attached to femininity. As the artist later recalled: 'The basic criterion on which I selected the photos was connected with the possibility of capturing some particular element such as femininity, elegance, astonishment, expectation. Or the horror of the stereotype, predominant seriality, consumption etc.'" — Flavia Frigeri Continue reading "BEING WOMEN: SEEING FEMINISM" by art historian and @chanelofficial Curator for the Collection at the @nationalportraitgallery #FlaviaFrigeri from 𝑺𝑻𝑰𝑳𝑳 - 𝑺𝒕𝒖𝒅𝒊𝒆𝒔 𝒐𝒏 𝑴𝒐𝒗𝒊𝒏𝒈 𝑰𝒎𝒂𝒈𝒆𝒔: 𝑪𝒉𝒂𝒑𝒕𝒆𝒓 2 via the link in bio. In his essay, Frigeri charts the ways in which filmmakers and artists #CeciliaMangini, #GiosettaFioroni, #MarinellaPirelli, #LauraGrisi, #KettyLaRocca, and #NicoleGravier subversively used lens-based media to disrupt patriarchal representations of womanhood within the feminist debate during the 1960s and 1970s. Image credit: Giosetta Fioroni, La ragazza della televisione, 1964. Courtesy of the artist, and Archivio Giosetta Fioroni #FondazioneInBetweenArtFilm #BeatriceBulgari #STILL #AlessandroRabottini #BiancaStoppani #LeonardoBigazzi #PaolaUgolini

Continue reading the essay "BEING WOMEN: SEEING FEMINISM" by art historian and @chanelofficial Curator for the Collection at the @nationalportraitgallery #FlaviaFrigeri from 𝑺𝑻𝑰𝑳𝑳 - 𝑺𝒕𝒖𝒅𝒊𝒆𝒔 𝒐𝒏 𝑴𝒐𝒗𝒊𝒏𝒈 𝑰𝒎𝒂𝒈𝒆𝒔: 𝑪𝒉𝒂𝒑𝒕𝒆𝒓 2 via the link in bio. Frigeri's essay charts the ways in which filmmakers and artists #CeciliaMangini, #GiosettaFioroni, #MarinellaPirelli, #LauraGrisi, #KettyLaRocca, and #NicoleGravier subversively used lens-based media to disrupt patriarchal representations of womanhood within the feminist debate during the 1960s and 1970s. Image credit: Nicole Gravier, Roberto (Moro) (detail), 1976 -1980. Collage on C- print. cm 30×40. Courtesy of the artist; and @ermesermes #FondazioneInBetweenArtFilm #BeatriceBulgari #STILL #AlessandroRabottini #BiancaStoppani #LeonardoBigazzi #PaolaUgolini

We are pleased to announce that on September 25, the films by Iván Argote, Silvia Giambrone, Eva Giolo, Basir Mahmood, MASBEDO, Elena Mazzi, and Adrian Paci for #MASCARILLA19 – Codes of Domestic Violence will be screened at @lungomare_bozen_bolzano, as part of @baw_bolzanoartweeks program. With this ambitious series of commissioned works, curated by Leonardo Bigazzi, Alessandro Rabottini, and Paola Ugolini (who will introduce the screening programme), the Foundation wants to further the international debate on the dramatic issue of domestic abuse, which has been exacerbated by the long months of the Covid-19 emergency. The 8 artists’ films that make up MASCARILLA 19 – Codes of Domestic Violence offer different perspectives on a shared theme, captured in its full scope and urgency: each work expresses a unique sensibility, through languages and approaches that range from documentary-style exposé to the symbolic, psychological exploration of relationship dynamics. Images courtesy: Lungomare #BeatriceBulgari #LeonardoBigazzi #AlessandroRabottini #PaolaUgolini #IvánArgote #SilviaGiambrone #EvaGiolo #BasirMahmood #MASBEDO #ElenaMazzi #AdrianPaci #Lungomare #BolzanoArtWeeks